Liza Of LambethFirst edition, first issue, T. Fisher Unwin 1897,
pale green cloth blocked in gold on front and spine, Stott A1a.
Signed by Maugham and inscribed "Remembering the thrill it was to receive
the first copies of this book, more than
fifty years ago, I think it is now with something like dismay. W. Somerset
Maugham 24 August 1949" 2000 issued,
green cloth folding box and gilt stamped, green full morrocco slipcase.
Cover illustration of Liza in Coster costume
by Maugham's friend, English artist Henry Bishop.
First edition, third issue, T. Fisher Unwin 1897, Stott A1a.
This is the Colonial edition reissued in the home market with the words
colonial edition on the verso of the title page
overprinted (i.e. blacked out), title page in black only, otherwise identical
to the first issue.First American edition, Doran 1921, light brown cloth, blocked in dark brown,
dustjacket, Stott A1b.
Second edition, first issue, T. Fisher Unwin 1904, blue pictorial wrappers,
Stott A1c.
Cover printed in black with an illustration of Liza with two men, and a
glowing review from the Standard.
Cheap edition, T. Fisher Unwin 1915, variant binding, blue cloth blocked
in black, Stott A1d.
Travellers' Library edition, Heinemann 1930, blue cloth, gilt stamped on
the spine only with the Traveller illustration,
yellow dustjacket with black printing, Stott A1e
Contains a new 6-page preface discussing the changes in Cockney speech since
the book was written 33 years earlier.
Page 1 is pasted onto a stub.
Jubilee Edition, Heinemann 1947, signed by Maugham, #675 of 1000, quarter
vellum and maroon patterned boards
designed by Stanley Morison, matching maroon patterned dustjacket, Stott
A1f.

"I suppose that no author can forget the thrill with which he handles
the first copy of his first book. This with me was
Liza of Lambeth. I recieved six copies from the publisher and it was with
exultation that I looked at the neat, rather
attractive little books in their pale green binding; it was with pride that
in the first one I put the name of a friend who
had been the dear companion of my lonely youth. I have not myself owned
a copy of the first edition of this book for
many years, but when I saw a copy the other day, I could not but feel something
of the old emotion. I think the first
edition was of two thousand and therefore copies must be getting rather
scarce."
From Maugham's preface to Fred Bason's bibliography, 1931.

The Making of a SaintFirst edition, L.C.Page 1898, first state of
binding, grey cloth, pictorially blocked in gold, green and black, gold
type on
the front cover and all gold type on the spine, Stott A2a.
Only 26 copies of the first edition were issued in this first state of the
binding according to the publisher, "possibly for
presentation," although after more than a century the number of copies
extant may now be considerably less.
First edition, L.C.Page 1898, second state of binding, black type on the
front cover and black and gold type on the spine,
otherwise identical to the first state, 2000 issued, Stott A2a.
First edition, L.C.Page 1898, third state of binding, black type on the
front cover and black type only on the spine,
otherwise identical to the first and second state, Stott A2a.
First English Edition, first issue, T. Fisher Unwin 1898, dark green ribbed
cloth, blocked in gold on the spine,
2000 issued, Stott A2b.
First English Edition, T. Fisher Unwin, olive green cloth, blocked in gold
on the spine, Stott A2b Notes.
First edition sheets, cut down and issued in 1904 in a different binding.
A variation similar to the one mentioned by
Stott, but with a reset title page in black only and undated. "Cloth
and paper" mentioned in the advertisement for the
second edition of Liza. Bound in green rather than navy cloth and lettered
in gold on the spine only with no publisher's
imprint at the bottom.
The St. Botolph Society edition 1922, dark green linen grain cloth, blocked
in green and gold, dark olive dustjacket
printed in dark green and gold, Stott A2a Notes.
Farrar, Strauss, Giroux 1966, red cloth, blocked in gold, dustjacket. Stott
A2a Notes .
Bibliographically interesting foreword by John Farrar, explaining the American
publishing history of this book.

Maugham wrote in collector Norman Unger's copy of the first American edition, "A very early novel written in Capri during
the summer of 1895." In a copy of the first English edition he wrote,
"this very early novel written in Capri during the
summer of 1896." The book was actually written in the summer of 1897.
Maugham has described this as the worst
book he ever wrote. Stott A2b Notes.

Orientations
First edition, first issue, first state of binding, T. Fisher Unwin 1899,
top edge gilt, dark green ribbed cloth,
blocked in gold on the spine, 2000 issued, Stott A3a.
First edition, second issue, T. Fisher Unwin 1899, all edges cut, green
cloth, blocked in gold on the spine,
Maugham's signature laid in, Stott A3a Notes.First edition, T. Fisher Unwin 1899, remainder
binding, olive green cloth, blocked in black, Stott A3a Notes.
Unwin's Colonial Library edition, T. Fisher Unwin 1899, first edition sheets
with a new half-title and title page printed in
black only (title page dated 1899, contrary to Stott) olive green cloth,
blocked in gold on the spine,
Stott A3a Notes, Unwin's Colonial Library edition, T. Fisher Unwin
1899, buff wrappers printed in black, otherwise identical to the bound
issue, including the dated title page. Not in Stott
This copy has printed on both the front and back wrappers: Copyright Edition.ÐAll
Rights Reserved. This Edition is
issued for sale and circulation in the British Colonies and India, and not
to be imported into Europe or the United
States of America. No. 60.

Of this first collection of short stories, the author has writtenÐ"A
Bad Example and Daisy are the first stories I ever wrote,
I was then 18."
There is no American edition of this book.

The Hero
First edition, Hutchinson 1901, navy blue cloth (possibly a remainder binding, but not mentioned by Stott),
stamped on the spine only hero/ornament/ws/maugham, Stott A4. This copy is the state with dropped ‘g’ on page 129.

Mrs. Craddock
First edition, Heinemann 1902, blue cloth blocked in black, gold and blind,
no advertisements in the back, Stott A5a.
Reprinted in 1903, according to Maugham, in his preface to the 1955 Collected
Edition Revised and Reset, but he may
be confusing it with the Times Book Club edition described below.
The Times Book Club edition. First edition sheets remaindered to the club
with a new title page, Heinemann 1903,
violet cloth binding blocked in black, The Times device on the spine, Stott
A5b.
The Times Book Club edition, binding variant. First edition sheets remaindered
to the club with a new title page,
Heinemann 1903, putty cloth binding blocked in black, The Times device on
the spine, Stott A5b.
First
American edition, Doran 1920, brown cloth, blocked in dark brown, Stott
A5c.Revised edition, Heinemann's 3s. 6d. Library
1928, red cloth blocked in black, colour illustrated dustjacket, not in
Stott
This edition returns to the original manuscript to replace passages censored
by Heinemann in the first edition. It also
contains a new and amusing preface by Maugham on his youthful lack of writing
skills - "The author of this novel has
been dead for many years..."Revised edition, Doubleday Doran 1928, maroon
cloth gilt stamped on the spine and blind stamped on the cover with
the author's signature, Art Deco colour dustjacket, not in Stott.
Contains the same textual changes and preface as the Heinemann Revised edition.
The Collected edition, Heinemann 1937, red cloth, blocked in blind and gold,
Stott A5d.
This edition includes the changes and the preface from the 1928 edition.
New and Revised edition, Heinemann 1955, scarlet cloth, gilt stamped, Stott
A5e.
Preface revised and expanded from the 1928 edition.
George Cukor's copy with his bookplate by Paul Landacre. Dustjacket illustrated
by Charles W. Stewart.

Maugham's early tale of immorality was heavily censored by Heinemann before
he would publish it. Even then, according
to the author, it was still considered extremely daring. Later revised by
Maugham to the original manuscript in the
Heinemann 1928 edition and not, as Stott claims, the Heinemann 1937 Collected
Edition.A Man Of Honour A Play In Four Acts
As performed by the Stage Society at the Imperial Theatre, Westminster,
on Monday, February 23rd, 1903.
Separate issue, Chapman and Hall 1903, cream wrappers printed in black,
150 issued, Stott A6a.

Printed at Maugham's request by the editor of The Fortnightly Review for
sale as a souvenir on the first night of the play,
Sunday, February 22nd, 1903. Very few were sold and the rest were discovered
shortly before the war in the offices of the
publishers and given to Maugham who later gave some as gifts, sold some
through Fred Bason and supposedly lost the
remainder when his flat was bombed during the war. Stott A6a Notes.
"But there is another little book of mine which must be scarcer still
(than the first edition of Liza of Lambeth). It is the
paper-bound edition of A Man of Honour, which was issued by Messrs Chapman
and Hall. This was a play published in
The Fortnightly Review by the late W.L. Courtney, who thought well of it,
and at my urgent request the publishers bound
up a few copies of the sheets, two hundred and fifty, I think, for sale
in the theatre during the two performances which
the Stage Society gave it. I am afraid the venture did not profit them,
for I doubt whether fifty copies were sold, and I
suppose the rest have long ago been pulped." From Maugham's preface
to Fred Bason's bibliography, 1931.A Man Of Honour A Tragedy In Four Acts
First Heinemann edition 1912, red buckram blocked in black, 500 issued,
Stott A6b.
First Heinemann edition 1912, wrappers, 1000 issued, Stott A6b.

Contains a new 3 1/2 page preface by the author. "It is one of the
more scarce of the Heinemann series, especially in
buckram." Stott A6b Notes.
The Merry-Go-Round
First edition, first issue, Heinemann 1904, dark blue cloth, blocked in
gold and black, 3000 issued, Stott A7a.

In a letter to his agent Maurice Coles, Maugham said of the initial failure
of this novel, "When a publisher does not like
a book and has made up his mind that it will not sell, one might just as
well throw it in the Thames as let him publish it."
The Land of the Blessed VirginFirst edition, first variant of binding, Heinemann
1904, light blue paper boards, parchment spine, blocked in gold,
1250 were issued, about half of which were remaindered, Stott A8.
First edition, third variant of binding, Heinemann 1904, light blue paper
boards, white cloth spine, blocked in gold, Stott A8.
First American edition, Knopf July 1920, light blue-green paper boards,
white cloth spine with paper label, Heinemann
first edition sheets with a new title page on a stub, Stott A8.
Published in a small edition according to a note on page ii of the second
Knopf edition.
Quite scarce, the edition must have been very small.
Second Knopf edition 1920, retitled "Andalusia," printed in the
U.S., red paper boards with paper label, black cloth
spine lettered in red, dustjacket, Stott A8.
A note on the verso of the half-title says, "A small edition of this
book (printed in England and bound in the United
States) was published in the spring of 1920 by Mr. Knopf under the title
The Land of the Blessed Virgin."
The Bishop's Apron. A Study in the Origins of a Great Family.
First edition, Chapman and Hall 1906, rebound using the original gilt stamped
red cloth, housed in a quarter red
morocco and cloth box, signed by Maugham, and inscribed "For Ernest
Rasdale. This very early novel, W. Somerset
Maugham" Stott A9a.
Another copy of the first edition, Chapman and Hall 1906, original gilt
stamped red cloth, Stott A9a.
This copy has a history that is catalogued by a collection of lending library
labels laid in, including: W. H. Smith and
Sons Library in the Strand, London; The Grosvenor Gallery Library in South
Molton Street, London; The Devonshire
Circulating Library, Buxton, Devon; Duncairn Lending Library, Belfast. The
dedication page is missing from this copy.
First edition, Chapman and Hall 1906, brick-dust colour remainder binding,
blocked in gold on the spine only, Stott A9a.
This remainder binding is described in Stott's 1956 bibliography published
by Bertram Rota, Ltd.
First edition, Chapman and Hall 1906, oxblood red remainder binding, blocked
in gold on the spine only, Stott A9a.
The remainder binding mentioned by Stott has W. SOMERSET | MAUGHAM stamped
on the spine but the oxblood binding
has just MAUGHAM. Apparently they were either bound at different times,
or by different binders.

"No record is now available of the number of the first edition. The
author believed it was 1,500, but the books scarcity
suggests it was small. There is no American edition." ÐStott.
The Explorer
First edition, first issue, Heinemann 1908, dark blue cloth, blocked in
gold and black, 1900 issued, Stott A10a.
First edition sheets, Heinemann 1908, contents identical to the first issue
but slightly cut down and issued in a
remainder binding of triton green cloth, Stott A10b Notes.
First edition, second impression January 1908, recased in a contemporary
library binding, blue cloth gilt stamped on the spine only
First Colonial Edition, HeinemannÕs Colonial Library (1907) 1908, first
edition sheets bound in the same style of casing
as that described by Stott for The Magician A11b. Not in Stott or Rothschild.
First edition sheets, Heinemann 1908, contents
identical to the first issue but slightly cut down and bound in olive green
cloth, with the W.H.Smith Library device stamped on the cover in black,
and the title inside a decorative frame also
stamped in black, not in Stott
First American and First Illustrated edition, Baker & Taylor 1909, sage
green cloth, blocked in gold on the spine and gold
in a white panel on the front, Stott A10c.
First American and First Illustrated edition with a variant in the colophon
on the base of the spine, not in Stott
First American and First Illustrated edition with a variant binding; the
cream panel is missing from the front, not in Stott
First Canadian edition, The Musson Book Co. 1909, made from American first
edition sheets, binding identical to the
American edition, not in StottFirst Doran edition, George H. Doran [1920],
yellow ochre cloth blocked in black, dustjacket, A25a Notes

Although the first American edition was printed in America according to
Stott, it appears to have been printed from
stereotype plates made from the Heinemann type.
Maugham has also described this as his worst book.
The Magician
First edition, first issue, Heinemann 1908, dark blue cloth, blocked in
gold and black, 2100 issued, navy blue half-
morrocco and gilt stamped slipcase, Stott A11a.
First American edition, Duffield 1909, blue cloth, stamped in orange and
green with cobra design, Stott A11c.
First Doran edition, 1921, green cloth, blocked in black, Stott A11c Notes.Cheap edition, Heinemann 3/6 Library edition
1919. Printed from the same type as the first English edition, but with
new prelims. Bound in green cloth blocked in black, illustrated dustjacket.
Not in Stott.
New edition, together with 'A Fragment of Autobiography', Heinemann 1956,
scarlet cloth, gilt stamped, with dustjacket
illustrated by Francis Carr, Stott A11e.
New edition, together with 'A Fragment of Autobiography', Doubleday 1957,
with the same dustjacket illustration as the
Heinemann edition described above, not in Stott.

The magician character, Oliver Haddo, is a melodramatic caricature of self-styled
satanist, Aleister Crowley.
Maugham met him in paris through Gerald Kelly, whose older sister had been
married to Crowley. Maugham and Crowley
disliked one another and Crowley was offended by Maugham's portrayal. Seeking
revenge, Crowley wrote a scathing
article in Vanity Fair entitled "How To Write A Novel! After W.S. Maugham," in which he accuses Maugham of plagiarism
and gives many examples to prove his case.
Lady Frederick. A Comedy In Three Acts
First edition, Heinemann 1912, red buckram blocked in black, 500 issued,
Stott A12.
First Doran edition, one of 100 sets of Heinemann January 1914 reprint sheets
bound by George H. Doran in their usual
grey paper boards with a paper label on the spine, Heinemann title page
with Made in Great Britain added to verso,
Stott A12 (Stott says George H. Doran recieved 100 copies of the 1927 reprint).
An original sepia photograph portrait of Ethel Barrymore has been tipped
on to page vi.

Opened at the Court Theatre on October 26, 1907 with Ethel Irving. The play
that launched Maugham's career as the
pre-eminent dramatist of the time. Over the next five years, Maugham would
have eight plays produced successfully,
with four running simultaneously in the West End by June 1908.
Jack Straw. A Farce In Three Acts
First edition, Heinemann 1912, red buckram blocked in black, signed by Maugham,
inscribed to Norman Unger,
500 issued, Stott A13.
First edition, Heinemann 1912, wrappers, 1000 issued, Stott A13.
First edition, Heinemann 1912, wrappers issue bound in olive buckram, blocked
in gold, (see A24 below), Stott A13.
First American edition, The Dramatic Publ. Co. 1912, wrappers, 500 issued,
Heinemann sheets, Stott A13.

Originally titled Worthley's Entire. Opened at the Comedy Theatre on April
26, 1908 with Marie Tempest.
Penelope. A Comedy In Three Acts
First edition, Heinemann 1912, wrappers, 1300 issued, Stott A15.
First American edition, The Dramatic Publ. Co.
1912, blue cloth, gilt stamped, 500 issued, Heinemann sheets with a new
American title page printed in the U.K., Stott A15.
First American edition, The Dramatic Publ. Co. 1912, wrappers, 500 issued,
Heinemann sheets, Stott A15.
Second edition, Heinemann, reprinted January 1914, smooth oxblood cloth,
blocked in black on the spine, not in Stott

Originally titled Man and Wife. Opened at the Comedy Theatre on January
9, 1909 with Marie Tempest, for whom the
play was written.
The Explorer. A Melodrama In Four Acts
First edition, Heinemann 1912, wrappers, 1300 issued, Stott A16.
First American edition, The Dramatic Publ. Co. 1912, wrappers, 500 issued,
Heinemann sheets, Stott A16.

Opened at the Lyric Theatre on June 13, 1908 with Lewis Waller.
The Tenth Man. A Tragic Comedy In Three Acts
First edition, Heinemann 1913, red buckram blocked in black, 700 issued,
Stott A17.
First edition, Heinemann 1913, wrappers, 1300 issued, Stott A17.
First American edition, The Dramatic Publ. Co. 1913, wrappers, 500 issued,
Heinemann sheets, Stott A17.
First Doran edition, one of 100 sets of Heinemann 1913 first edition sheets
recieved by George H. Doran in 1923 and
bound by them in their usual grey paper boards with a paper label on the
spine, Heinemann title page with Made in
Great Britain added to verso, Stott A17 (General description of the binding
of the plays, Stott page 14, Note 5)

Originally titled Grace. Opened at the Duke of York's Theatre on October
15, 1910 with Irene Vanburgh and Lady Tree.
Smith. A Comedy In Four Acts
First edition, Heinemann 1913, red buckram, 700 issued, Stott A19.
First edition, Heinemann 1913, wrappers, 1300 issued, Stott A19.
First American edition, The Dramatic Publ. Co. (1913), blue cloth, gilt
stamped, 500 issued, Heinemann sheets with a
new American title page printed in England with "Copyright, 1909, by
William Somerset Maugham." stamped on recto
and verso, Stott A19.
First American edition, The Dramatic Publ. Co. (1913), wrappers, 500 issued,
Heinemann sheets with a new American
title page printed in England with "Copyright, 1909, by William Somerset
Maugham." stamped on the recto, Stott A19.
First Doran edition, one of 200 sets of Heinemann second edition sheets,
printed in January 1914, received by
George H. Doran and bound by them in their usual grey paper boards with
a paper label on the spine.
Heinemann title page with Made in Great Britain stamped on verso (Stott
p. 14 note 5)

The first American edition title pages are overprinted "Copyright,
1909, by William Somerset Maugham." This was the
date of the first performance, the book was actually published in 1913,
as was the English edition (Stott p. 14 notes
3 and 4 and the notes to A6b).
Opened at the Comedy Theatre on September 30, 1909, with Marie Lohr.
The Land of Promise. A Comedy in Four Acts
First Published edition, Heinemann 1922, red buckram blocked in black, 700
issued, Stott A20c.
First Published edition, Heinemann 1922, wrappers, 1300 issued, Stott A20c.
The true first edition was printed for copyright purposes only by Bickers & Son, Ltd. in 1913. Only 25 copies were
issued and it is therefore the rarest of all Maugham's printed works. There
is also a second copyright edition printed in
Canada by Geo. H. Popham in 1914 which is equally scarce.

Opened at the Hyperion Theatre in New Haven, Connecticut in 1913 with Billie
Burke. Produced in London on February 26,
1914 with Irene Vanburgh.
Of Human Bondage
First edition, first issue, George H. Doran 1915, green cloth gilt stamped,
misprint p.257, 4336 copies were issued on the
12th of August 1915, Stott A21a.
First edition, second issue, George H. Doran 1915, green cloth gilt stamped,
misprint corrected, Stott A21a.
First English edition, Heinemann August 1915, dark blue cloth, blocked in
gold and black, 5000 issued, printed
from stereotype plates made from the American first issue type, with the
misprint on page 257, 16 pages of
advertisements printed on cheaper paper and inserted at the back, Stott
A21b.
First Canadian edition, S. B. Gundy 1915, identical to the Doran first issue
(including the misprint), except for the name
of the publisher on the title page and on the base of the spine, not in
Stott.
4336 copies from an edition of 5000 were published by Doran. The balance
may well have been this Canadian edition.
Second impression, George H. Doran 1919, green cloth blocked in black, signed
by Maugham, inscribed to Paul North
on a tipped in half title, Stott Appendix V, Note 3.
Paul North was in the unfortunate habit of removing half-titles and sending
them to Maugham to inscribe them, then
tipping them back into the book, perhaps to save on postage.
Second impression, Heinemann September 1915, no advertisements, otherwise
identical to the first impression,
including the misprint on page 257.
Cheap edition, Heinemann 3/6 Library edition 1929. Printed from the same
plates of the American first
issue type used to print the first English edition, including the misprint
on page 257, but with new prelims.
Red cloth blocked in black. Not in Stott.Third impression of Heinemann's 3/6 Library 1931.
Printed from the same plates of the American first
issue type used to print the first English edition, including the misprint
on page 257, but with new prelims.
(Stott states that the misprint was corrected in later editions, but here
it is sixteen years later). Sage green cloth
blocked in black, illustrated dustjacket, front cover identical to the first
English edition shows Phillip Carey wearing a
black cape with a red cravat, green trousers and a black artist's homburg
and the club-foot on the wrong foot as in the
suppressed first English edition first issue jacket! The drawing is signed
'M.B.'. Not in Stott.
Presentation edition, Heinemann 1934, brown cloth, bevelled boards, blocked
in gold, decorative endpapers, Stott A21c.
Printed from reset type with the infamous misprint corrected. Contains a
new preface with some biographical and
bibliographical notes, a letter from an admirer, and a frontispiece portrait
by Gerald Kelly.
First Illustrated and Limited edition, Doubleday Doran 1936, signed by Maugham,
#480 of 751, also signed by the
illustrator, Randolph Schwabe, maize buckram bevelled boards, blocked in
black and gold, slipcase with illustration
tipped on, Stott A21d.
Limited Editions Club 1938, in two volumes, #356 of 1500, signed by the
illustrator, John Sloane, tan linen cloth
with coloured flecks, slipcase, Stott A21e.
Illustrated De Luxe edition, Garden City Publishing 1939, dustjacket, Stott
A21d Notes.
Pocket Book edition 1950, wraps, Stott A21f. (Stott incorrectly states Cardinal
1952)
Contains a new two-page introduction in which Maugham justifies the abridging
of his book to enable the publishers
to "issue it at a price that would put it within the reach of every
pocket."

Maugham's most famous novel, a long, quasi-autobiographical work based on
his childhood in Paris and Whitstable, his
school days at King's School, Canterbury and his youth at Heidelberg University
and St. Thomas's Hospital Medical School
in London. Maugham said of this book "This is a novel, not an autobiography,
although much in it is autobiographical,
more is pure invention. W. Somerset Maugham. 28 August 1957."Ðfrom
collector Ingle Barr's copy of the first English
edition.
The Moon and Sixpence
First edition, first issue, Heinemann 1919, green cloth, blocked in black,
four pages of ads with six Phillpotts titles,
4800 issued, Stott A22a.
First edition, second issue, Heinemann 1919, green cloth, blocked in black,
no ads, cancelled stubs showing, Stott A22a.
First edition, third issue, Heinemann 1919, green cloth, blocked in black,
four pages of ads with seven Phillpotts titles,
Stott A22a.
Colonial edition, Heinemann 1919, red cloth blocked in blind on the front
with the same floral design and lettering as the
first edition, but without Maugham's symbol, spine lettered in gold, inside
identical to the second issue of the first
edition, Stott A22b.First American edition, George H. Doran 1919,
green cloth, blocked in black, dustjacket with English newspaper reviews
on the back, 5000 issued, Stott A22c.
The English reviews would seem to suggest an earlier state of the dustjacket
than that illustrated in Rothschild, which
has American newspaper reviews on the back. Very scarce in dustjacket.
First American edition, George H. Doran 1919, variant binding, brown cloth
blocked in black, Stott A22c.
First American edition, George H. Doran 1919, second state (according to
Stott), brown cloth blocked in black with
Maugham mis-spelled as "Maughan," Stott A22c.
It seems more logical that the spelling mistake was the first state and
was then corrected to make the second state.
Collins Cheap edition, The London Book Co., Ltd., for Wm. Collins Sons & Co., Ltd. 1931, blue ribbed cloth blocked in
navy blue, full-colour illustrated dustjacket, Stott A22d.
One of five Maugham books published by Collins in their one shilling Fiction
Library (the "bob" novels)
between 1930 and 1937. Stott page 70 and Stott Appendix V, Note 5.
First illustrated edition, Heritage 1941, beige buckram, blocked in brown,
illustrated by Frederick Dorr Steele and by
reproductions of paintings by Paul Gaugin, slipcase, Stott A22e.

Maugham's second most famous novel, a loosely biographical work based on
the life of Paul Gaugin and set in London,
Paris and Tahiti.
The Unknown. A Play In Three Acts
First edition, first issue, Heinemann 1920, 2000 issued in wrappers only,
Stott A23.
First American edition, reissue of the Heinemann edition with the original
English title page (not "a new American title
leaf, printed in America" as Stott says), Made in Great Britain stamped
on verso. Stott A23.
One of 100 copies of the Heinemann sheets sent to George H. Doran in 1920.

Opened at the Aldwych Theatre on August 9, 1920 with Basil Rathbone, Lady
Viola Tree (to whom the play is dedicated),
and Haidee Wright, who caused Maugham to say he had never seen such a moving
performance.
The Circle. A Comedy In Three ActsFirst edition, Heinemann 1921, hemp beige paper
boards, printed in black, 500 issued, Stott A24a.
"The extreme scarcity of the boards issue would suggest that a much
smaller number [than 500]
was involved." Stott A24a Notes.
First edition, Heinemann 1921, wrappers, binder's leaf before the blank
leaf, 1000 issued, Stott A24a.
First edition, Heinemann 1921, wrappers issue bound in olive buckram, blocked
in gold, Stott A24a.
First American edition, Doran 1921, grey paper boards with paper label on
spine, dustjacket, Stott A24b.

Contains the story "Rain" retitled from "Miss Thompson"
in The Smart Set (D22), and again retitled "Sadie Thompson"
in subsequent issues, films and musical productions. The play adaptation
by Colton and Randolph retained the title
"Rain." Maugham's most famous short story introduces the world
to his most infamous character, Sadie, the whore
with the heart of stone. Both first editions dustjackets are very scarce.
Caesar's Wife. A Comedy In Three Acts
First edition, Heinemann 1922, red buckram blocked in black, 700 issued,
Stott A26.

Opened at the Royalty Theatre on March 27, 1919 with Fay Compton.
East of Suez. A Play In Seven Scenes
First edition, Heinemann 1922, red buckram blocked in black, 700 issued,
Stott A27a.
First edition, Heinemann 1922, wrappers, 1300 issued, Stott A27a.
First American edition, George H. Doran 1922, hemp beige paper boards with
a paper label on the spine, Stott A27b.

Maugham's theatrical "spectacle" with a large cast of chinese
extras and an orchestra playing incidental music composed
by Eugene Goossens. Opened at His Majesty's Theatre on September 2, 1922
with Basil Rathbone.
On a Chinese ScreenFirst Edition, George H. Doran 1922, 2000 issued,
quarter yellow cloth spine blocked in black and orange paper boards
blocked in gold, red dustjacket printed in black, Stott A28a.
First English edition, Heinemann 1922, 2000 issued, black cloth blocked
in gold with three flying horses, buff dustjacket
printed in red with the same flying horses motif, Stott A28b.
George H. Doran Murray Hill Library edition 1928, Stott A25a Notes

Both first editions dustjackets are very scarce.
Our Betters. A Comedy In Three Acts
First edition, Heinemann 1923, red buckram blocked in black, 500 issued,
Stott A29.
with the bookplate of Gilbert Roland who starred in the 1933 movie.
First edition, Heinemann 1923, wrappers, 1000 issued, Stott A29.
First edition, second issue, Heinemann 1924, wrappers, 1000 issued, Stott
A29.
First American edition, George H. Doran 1924, 200 issued, Heinemann sheets
with a new title page printed in America,
grey paper boards with a paper label on the spine, Stott A29.

The Arthur Fenwick character is based on Gordon Selfridge, which Maugham
denied in a disclaimer note in the book
(Note.--The author wishes to state that the personages of the play are entirely
imaginary), but later admitted to in his
autobiography "Looking Back." Selfridge had been a lover of Maugham's
wife Syrie. Written in 1915, opened at the
Hudson Theatre, New York in 1917, causing considerable controversy. Opened
in London at the Globe Theatre on
September 12, 1923 with Margaret Bannerman and Constance Collier.
Home and Beauty. A Farce In Three Acts
First edition, Heinemann 1923, red buckram blocked in black, 500 issued,
Stott A30.
First edition, Heinemann 1923, wrappers, 1000 issued, Stott A30.

Produced in America with the title Too Many Husbands at the Globe Theatre,
Atlantic City on August 4, 1919 with Estelle
Winwood. Opened in London at The Playhouse on August 30, 1919 with Gladys
Cooper and Charles Hawtrey.

There is no American edition of this book, although it was filmed in 1950
with the American title.